Examination of dügâh hymns in the archives in terms of maqam and rhythm

Our musical culture, which is one of the most important elements of our civilization and cultural history, has started to be applied in mosques and lodges with the contribution of imams, muezzins and zakirbaşıs who know music very well, and composers who are followers of lodges, after the Turks' conversion to Islam. This accumulation, entrusted to us by our ancestors, has been transferred to the present day with the method of meşk. During the meşks, the student not only learned the performance and style of his teacher, but also transferred the repertoire of the period from memory to memory, thus transferring it to the next generations was possible with this method. The musical notation systems, on which various studies were made at that time, could not be preferred or used in education by composers and performers. As a result of the importance given to the Western notation system in the last periods of the Ottoman State, musical studies and lessons in institutions such as Dâr'ül Bedâî and Dâr'ül-elhan, especially the Mızıka-i Humayun, were carried out with the western notation. In addition, especially in Dâr'ül-elhan, studies on compilation and notation of compositions were also carried out. During these studies, inconsistencies or errors may occur in the notes in terms of maqam and procedural due to the fact that the compositions were read with more or less differences by different performers or mistakes were made in the theory-practice process during notation. In our study, the works of mosque and lodge music in the hymn form in the archives and in the Dügâh maqam were examined in terms of maqam and method. At the point of examining the works in terms of maqam, the descriptions of important theorists such as Kantemiroğlu, Abdülbâki Nâsır Dede, Rauf Yekta Bey, H. Saadettin Arel, Suphi Ezgi, Y. Fikret Kutluğ and their descriptions based on the works with Dügâh maqam in various forms were taken into consideration. In terms of procedure; Considering the prosody in the lyrics, the syllable meter, the unit time of the musical sentences in the number of measures, the harmony of the tune emphasis with the main patterns and velves of the prosody, the harmony of the scales and the additions to the notes in the measures that are inconsistent due to spelling mistakes, Prof. Dr. It has been examined in the light of Mehmet GÖNÜL's book. The study is a qualitative study and scanning model was used. As a result of the examination, the corrected copies of the maqams and procedures of the hymns are presented in the appendices, and it is Keywords: Turkish Music, hymn, Dügâh makam, makam, rhytm